Textile praxis : the case for Malaysian hand-woven songket
Textile praxis : the case for Malaysian hand-woven songket
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纺织实践：马来西亚手织松革案例
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发表时间：
2010
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通讯作者：
S. Stankard
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作者：
S. Stankard
这项研究是由于对工业化前传统手工艺品，即马来西亚的松吉纺织品的脆弱性的关注而引起的。松吉纺织品在东南亚已经编织了两个多世纪，其物质性代表了马来西亚的文化遗产，传统和民族认同。来自进口、价格较低和大规模生产的松吉纺织品仿制品的市场竞争迫使当地制造商发起创造性变革，作为长寿和确保市场地位的一种手段。
本研究以发展理论和社会科学理论指导研究者的创作实践，形成纺织实践。研究者作为纺织品设计师和编织者的实践将引入替代技术，即纱线和编织技术，以促进纺织品的生产。这种做法是在马来西亚和皇家艺术学院的伦敦工作室进行的。这种做法的实施反映了当地的材料，技术和经济环境，因此，提供了替代纱线和编织技术，这是“适当的”（舒马赫1993年），以当地的手工编织生产基础设施。纺织品物质性的社会文化背景是研究者在实践中最大的挑战;客体、主体和社会关系的二元性（Gell 1998）。表现为客观性本身，二元论提出了一个机构后，创造性的实践。研究者的自主实践受到材料表征自主性的挑战。
通过研究者的实践生产的纺织品包括物质性的根本变化。通过获得地方知识，他们代表了创造力，其中社会客观性已经被研究者考虑和抽象。纺织品的存在，不是作为一种新的物质类型，而是作为对当地制造商的曝光和影响，展示了可以通过扩展现有技术框架来实现的创造力。通过在研究人员的实地实践中使用替代纱线，当地制造商选择在他们的实践和随后的纺织品市场中采用和适当使用纱线，并持续使用。
使用暴露影响当地制造商的做法已经导致纺织品重要性的变化。纺织品的未来物质性取决于其创造性实践和社会所处的时间和空间。
This research was prompted by a concern for the vulnerability of traditional pre-industrial handicrafts, namely the songket textiles of Malaysia. The songket textile has been woven for over two centuries in Southeast Asia, and its materiality represents cultural heritage, tradition, and national identity in Malaysia. Market competition from imported, less expensive and mass-produced songket textile replicas has forced local makers to instigate creative change, as a means of longevity and secure a place in the market.
Within this research theories of development and social science are used to direct the creative practice of the researcher, forming a textile praxis. The practice of the researcher, as a textile designer and weaver, will introduce alternative technology, namely yarns and weaving techniques, to the production of the textile in order to instigate change. This practice is conducted within the field in Malaysia and in the London studios of the Royal College of Art. The implementation of the practice reflects the local material, technological, and economic environments, hence, providing alternative yarns and weaving techniques which are ‘appropriate’ (Schumacher 1993) to the local hand-woven production infrastructure. It is the socio-cultural context of the textiles materiality which most challenges the researcher in her practice; the duality (Gell 1998) of the object, subject, and social relationship. Manifesting itself as objectivity, dualism presents an agency upon creative practice. The autonomous practice of the researcher is challenged by the autonomy of material representation.
The textiles which were produced by the researcher’s practice consist of radical changes in materiality. Through acquiring local knowledge, they represent creativity, where social objectivity has been considered and also abstracted by the researcher. The textiles exist, not as a new genre of materiality, but as exposure and influence to local makers, demonstrating creativity which can be achieved by expanding upon existing technological frameworks. By experiencing the use of alternative yarns during the researcher’s field practice, local makers have chosen to adopt and appropriate the use of the yarns within their practice and subsequent textile market, a use which they have sustained.
The use of exposure to influence the local makers practice has already caused changes in the textiles materiality. The future materiality of the textile depends upon the time and space in which its creative practice and society resides.